The bass guitar is similar in appearance and construction to an electric guitar, but with a larger body, a longer neck and scale length, with four, sometimes five, or six strings tuned to the same pitches as those of the double bass,[5] which correspond to pitches one octave lower than those of the four lower strings of a guitar (E, A, D, and G).[6] The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) in order to avoid the excessive use of ledger lines. Like the electric guitar, the electric bass guitar is plugged into an amplifier and speaker for live performances.

History

1930s - 1940s

In the 1930s, musician and inventorPaul Tutmarc from Seattle, Washington, developed the first electric string bass in its modern form, a fretted instrument designed to be held and played horizontally. The 1935 sales catalog for Tutmarc's company, Audiovox, featured his "Electric Bass Fiddle," a four-stringed, solid-bodied, fretted electric bass instrument with a 30½-inch scale length.[7] The change to a "guitar" form made the instrument easier to hold and transport, and the addition of frets enabled bassists to play in tune more easily.

This horizontally held Model 736 electric bass fiddle was the final design from an earlier model electric bass fiddle more traditionally viol-shaped. This intermediate step from a traditional upright bass to modern form electric bass is described in an interview with Paul Tutmarc himself. The February 17, 1935, issue of the Seattle Post-Intelligencer newspaper broke the story of the beginnings of Tutmarc's quest to create a new instrument with an article headlined, "Pity Him No More - New Type Bull Fiddle Devised." and includes "Paul Tutmarc, Seattle music teacher and KOMO radio artist, has invented an electric bull-fiddle. One you can carry under your arm. And it doesn't even need a bow, either. You pluck a string - and out of the electric amplifier comes a rich, deep tone, sustained as if five or six bass violinists were bowing five or six bass-violins with masterly artistry. The tone is sustained as long as you want it, too, without a bow." ... "It's just a block of wood strung with bass-viol strings ... For the sake of tradition, he carved the block into a violin shape ... The first electric bass-viol is only four feet tall, instead of six. It could be made a lot smaller, but Tutmarc didn't want to be too revolutionary right off the bat. Bass violinists are a conservative race, and have to be accustomed gradually to the idea, he says."

Around 1947, Tutmarc's son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally-distributed L.D. Heater Co. wholesale jobber catalogue of '48. However, the Tutmarc family inventions did not achieve market success.

1950s–1960s

In the 1950s, Leo Fender developed the first mass-produced electric bass.[8] His Fender Precision Bass, introduced in 1951, became a widely copied industry standard. The Precision Bass (or "P-bass") evolved from a simple, uncontoured "slab" body design similar to that of a Telecaster with a single coil pickup, to a contoured body design with beveled edges for comfort and a single four-pole "single coil pickup." This "split pickup", introduced in 1957, appears to have been two mandolin pickups (Fender was marketing a four string solid body electric mandolin at the time). Because the pole pieces of the coils were reversed with respect to each other, and the leads were also reversed with respect to each other, the two coils, wired in series, produced a humbucking effect (the same effect is achieved if the coils are wired in parallel).

Following Fender's lead, Gibson released the violin-shaped Electric Bass with extendable end pin in 1953, allowing it to be played upright or horizontally. Gibson renamed the Electric Bass in 1958 as the EB-1 [12](The EB-1 was reissued around 1970, but this time without the end pin.) Also in 1958 Gibson released the maple arched top EB-2 described in the Gibson catalogue as A hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics[13]. In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was very similar to a Gibson SG in appearance (although the earliest examples have a slab-sided body shape closer to that of the double-cutaway Les Paul Special).

Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket. The EB-3, introduced in 1961, also had a "mini-humbucker" at the bridge position. Gibson basses also tended to be smaller, sleeker instruments; Gibson did not produce a 34" scale bass until 1963 with the release of the Thunderbird, which was also the first Gibson bass to utilize dual-humbucking pickups in a more traditional position, about halfway between the neck and bridge. A small number of other companies also began manufacturing bass guitars during the 1950s: Kay in 1952, and Danelectro in 1956;[11]

1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Hofner 500/1 violin bass ("Beatle Bass") made using violin construction techniques by Walter Hofner, a second generation violin luthier [14].

In 1957 Rickenbacker introduced the model 4000 bass [15], the first bass to feature a neck-through-body design; the Fender and Gibson versions used bolt-on and glued-on necks.

With the explosion of the popularity of rock music in the 1960s many more manufacturers began making electric basses.

First introduced in 1960, the Fender Jazz Bass was known as the Deluxe Bass and was meant to accompany the Jazzmaster guitar. The Jazz Bass (often referred to as a "J-bass") featured two single-coil pickups, one close to the bridge and one in the Precision bass' split coil pickup position. The earliest production basses had a 'stacked' volume and tone control for each pickup. This was soon changed to the familiar configuration of a volume control for each pickup, and a single, passive tone control. The Jazz Bass' neck was narrower at the nut than the Precision bass (1½" versus 1¾").

1970s Fender Jazz Bass with maple fretboard

Another visual difference that set the Jazz Bass apart from the Precision is its "offset-waist" body. Pickup shapes on electric basses are often referred to as "P" or "J" pickups in reference to the visual and electrical differences between the Precision Bass and Jazz Bass pickups. Significantly, Fender chose to label the headstock of this model with a decal noting Jazz Bass Electric Bass [3].

In the 1950s and 1960s, the instrument was often called "Fender bass", due to Fender's early dominance in the market.

1970s

Music Man Stingray Bass. Notice the pick-up placement that is ideal for slapping.

The 1970s saw the founding of Music Man Instruments by Tom Walker, Forrest White and Leo Fender, which produced the StingRay, the first widely-produced bass with active (powered) electronics. This amounts to an impedance buffering pre-amplifier on-board the instrument to lower the output impedance of the bass's pickup circuit, increasing low-end output, and overall frequency response (more lows and highs). Specific models became identified with particular styles of music, such as the Rickenbacker 4001 series, which became identified with progressive rock bassists like Chris Squire of Yes, while the StingRay was used by Louis Johnson of the funk band The Brothers Johnson.

In 1971, Alembic established the template for what would subsequently be known as "boutique" or "high end" electric bass guitars. These expensive, custom-tailored instruments featured unique designs, premium wood bodies chosen and hand-finished by highly skilled luthiers, onboard electronics for preamplification and equalization, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. In the mid-1970s, Alembic and other "boutique" bass manufacturers such as Tobias produced 4- string basses and 5-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to a 6-string bass tuned (low to high) B, E, A, D, G, C.

1980s–2000s

An early 1980s-era Steinberger headless bass

In the 1980s, bass designers continued to explore new approaches. Ned Steinberger introduced a headless bass in 1979 and continued his innovations in the 1980s, using graphite and other new materials and (in 1984) introducing the Trans-Tremtremolo bar. In 1987, the Guild Guitar Corporation launched the fretless Ashbory bass, which used silicone rubber strings and a piezoelectric pickup to achieve a "double bass" sound with a short 18" scale length. In the late 1980s, MTV's "Unplugged" show, which featured bands performing with acoustic instruments, helped to popularize hollow-bodied acoustic bass guitars amplified with pickups.

During the 1990s, as five-string basses became more widely available and more affordable, an increasing number of bassists in genres ranging from metal to gospel began using five-string instruments for added lower range - a low "B" below the standard "E" string. Some bass players who performed a lot in a solo setting used five-string basses to get a higher range by adding a high "C" string as the fifth string. As well, the onboard battery-powered electronics such as preamplifiers and equalizer circuits, which were previously only available on expensive "boutique" instruments, became increasingly available on modestly priced basses.

In the 2000s, some bass manufacturers included digital modelling circuits inside the instrument to recreate tones and sounds from many models of basses (e.g., Line 6's Variax bass). Traditional bass designs such as the Fender Precision Bass and Fender Jazz Bass remain popular in the 2000s; in 2006, a 60th Anniversary P-bass was introduced by Fender, along with the introduction of the Fender Jaguar Bass.

Design considerations

Bass bodies are typically made of wood, although other materials such as graphite (for example, some of the Steinberger designs) have also been used. While a wide variety of woods are suitable for use in the body, neck, and fretboard of the bass guitar, the most common type of wood used for the body is alder, for the neck is maple, and for the fretboard is rosewood. Other commonly used woods include mahogany, maple, ash, and poplar for bodies, mahogany for necks, and maple and ebony for fretboards.

Other design options include finishes, such as lacquer, wax and oil; flat and carved designs; Luthier-produced custom-designed instruments; headless basses, which have tuning machines in the bridge of the instrument (e.g. Steinberger and Hohner designs) and several artificial materials such as luthite. The use of artificial materials (e.g. BassLab) allows for unique production techniques such as die-casting, to produce complex body shapes. While most basses have solid bodies, they can also include hollow chambers to increase the resonance or reduce the weight of the instrument. Some basses are built with entirely hollow bodies, which change the tone and resonance of the instrument. Acoustic bass guitars are typically equipped with piezoelectric or magnetic pickups and amplified.

Instruments handmade by highly skilled luthiers are becoming increasingly available. Exotic materials include woods such as bubinga, wenge, ovangkol, ebony and goncalo alves. Graphite composite is used to make lightweight necks[16][17] Exotic woods are used on more expensive instruments: for example, the company 'Alembic' is associated with the use of cocobolo as a body material or top layer because of its attractive grain. Warwick bass guitars are also well-known for exotic hardwoods: most of the necks are made of ovangkol, and the fingerboards wenge or ebony. Solid bubinga bodies are also used for tonal and aesthetic qualities.

The "long scale" necks used on Leo Fender's basses, giving a scale length (distance between nut and bridge) of 34", remain the standard for electric basses. However, 30" or "short scale" instruments, such as the Höfner 500/1 "violin bass" played by Paul McCartney, and the Fender Mustang Bass are popular, especially for players with smaller hands. While 35", 35.5" and 36" scale lengths were once only available in "boutique" instruments, in the 2000s, many manufacturers have begun offering these lengths, also called an "extra long scale." This extra long scale provides a higher string tension, which yields a more defined tone on the low "B" string of 5- and 6-stringed instruments (or detuned 4-string basses).

Fretted and fretless basses

A fretless bass with flatwound strings; note the markers inlaid into the side of the fingerboard, to aid the performer in finding the correct pitch.

Another design consideration for the bass is whether to use frets on the fingerboard. On a fretted bass, the frets divide the fingerboard into semitone divisions (as on a guitar). The original Fender basses had 20 frets, but modern basses may have 24 or more. Fretless basses have a distinct sound, because the absence of frets means that the string must be pressed down directly onto the wood of the fingerboard as with the double bass. The string buzzes against the wood and is somewhat muted because the sounding portion of the string is in direct contact with the flesh of the player's finger. The fretless bass allows players to use the expressive devices of glissando, vibrato and microtonal intonations such as quarter tones and just intonation.

Some bassists use both fretted and fretless basses in performances, according to the type of material they are performing, as with Pino Palladino, whose performance on the fretless bass during the 1980s made him a highly desirable session player backing high profile musicians that included Eric Clapton and David Gilmour. However, the late 1990s showed a shift toward fretted basses as well, as he branched out into a wide variety of genres. While fretless basses are often associated with jazz and jazz fusion, bassists from other genres use fretless basses, such as metal bassist Steve DiGiorgio and Colin Edwin of modern/progressive rock band Porcupine Tree.

The first fretless bass guitar was made by Bill Wyman in 1961 when he converted an inexpensive Japanese fretted bass by removing the frets.[18][19] The first production fretless bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless Precision Bass in 1970. In the early 1970s, fusion-jazz bassist Jaco Pastorius created his own fretless bass by removing the frets[20] from a Fender Jazz Bass, filling the holes with wood putty, and coating the fretboard with epoxy resin.[21] Some fretless basses have "fret line" markers inlaid in the fingerboard as a guide, while others only use guide marks on the side of the neck. Tapewound (double bass type) and flatwound strings are sometimes used with the fretless bass so that the metal string windings will not wear down the fingerboard. Some fretless basses have fingerboards which are coated with epoxy to increase the durability of the fingerboard, enhance sustain and give a brighter tone. Although most fretless basses have four strings, five-string and six-string fretless basses are also available. Fretless basses with more than six strings are also available as "boutique" or custom-made instruments.

Strings and tuning

The tuning machines are mounted on the back of the headstock on the bass guitar neck; note the spiral metal worm gears.

The standard design for the electric bass guitar has four strings, tuned E, A, D and G, in fourths such that the open highest string, G, is an eleventh (an octave and a fourth) below middle C, making the tuning of all four strings the same as that of the double bass. This tuning is also the same as the standard tuning on the lower four strings on a 6-string guitar, only an octave lower. String types include all-metal strings (roundwound, flatwound, groundwound, or halfwound), metal strings with different coverings, such as tapewound and plastic-coatings. The variety of materials used in the strings gives bass players a range of tonal options. In the 1950s, bassists mostly used flatwound strings with a smooth surface, which had a smooth, damped sound reminiscent of a double bass. In the 1960s and 1970s, roundwound bass strings similar to guitar strings became popular, though flatwounds also continue to be popular. Roundwounds have a brighter timbre with greater sustain than flatwounds.

A number of other tuning options and bass types have been used to extend the range of the instrument. The most common are four, five, or six strings:

Four strings with alternate tunings to obtain an extended lower range.[22] Tuning in fifths e.g. CGDA gives an extended upper and lower range.

Note positions on a right-handed 4-string bass in standard EADG tuning. The dots below the frets are often inlaid into the wood of bass necks, as a visual aid to help the player find different positions.

Five strings usually tuned B-E-A-D-G, which provides extended lower range. Five string basses tuned to B-E-A-D-G (and sometimes A-D-G-C-F) are often used in contemporary rock and metal alongside seven string guitars, baritone guitars, and otherwise downtuned instruments. Another common tuning used on early five-string basses is E-A-D-G-C, known as "tenor tuning". This is still a popular tuning for jazz and solo bass. Other tunings such as C-E-A-D-G are used though rare. The fifth string provides a greater lower range (if a low B or A is used) or a greater upper range (if a high C string is added) than the 4-string bass, and gives access to more notes for any given hand position. The earliest five string was created by Fender in 1965. The Fender Bass V had the E-A-D-G-C tuning, but was unpopular. The common low B five string was created by Alembic for Jimmy Johnson as a custom instrument, and later Yamaha offered the first production model as the BB5000 in 1984.

Six strings are usually tuned B-E-A-D-G-C. The 6-string bass is a 4-string bass with an additional low "B" string and a high "C" string. While much less common than 4- or 5-string basses, they are still used in Latin, jazz, and several other genres, as well as in studio work where a single instrument must be highly versatile. Alternate tunings for 6-string bass include B-E-A-D-G-B, matching the first five strings of an acoustic or electric guitar, and EADGBE, completely matching the tuning of a 6-string guitar but one octave lower allowing the use of guitar chord fingerings. Rarer tunings such as EADGCF and F#BEADG provide a lower or higher range in a given position while maintaining consistent string intervals. The original six-string bass was created by Danelectro in 1958, as a guitar tuned down an octave (EADGBE). These earlier instruments had a sound similar to an electric guitar tuned an octave below instead of a bass sound. In the 70s, Anthony Jackson worked with Carl Thompson and (later) Fodera in cooperation with Ken Smith to create the Contrabass guitar, which evolved to the modern six-string bass (BEADGC).

Detuners, such as the Hipshot, are mechanical devices operated by the thumb on the fretting hand that allow one or more strings to be quickly detuned to a pre-set lower pitch. Hipshots are typically used to drop the "E"-string down to "D" on a four string bass.[23]

Extended range approaches

A seven-string fretless bass

Some bassists have used other types of tuning methods to obtain an extended range or other benefits such as providing multiple octaves of notes at any given position, as well as a significantly larger tonal range. Instrument types or tunings used for this purpose include basses with fewer than four strings (1-string bass guitars,[24] 2-string bass guitars, 3-string bass guitars (E-A-D);)[25]alternate tunings (e.g., tenor bass,[26]piccolo bass,[27] and guitar-tuned basses)[28] and 8, 10, 12 and 15-string basses, which are built on the same principle as the 12-string guitar, where the strings are grouped into "courses" tuned in unison or octaves, to be played simultaneously.[29]

Extended Range Basses (ERBs) are basses with 6, 7, 8, 9, 10, 11, or 12 strings which are not doubling unisons or octaves. The 7-string bass (B-E-A-D-G-C-F) was built by luthier Michael Tobias in 1987. This instrument, which was commissioned by bassist Garry Goodman, was an early example of a bass with more than six single course strings. Conklin builds 8- and 9-string basses.[30] The Guitarbass is a 10-string instrument with four bass strings (tuned E-A-D-G) and six guitar strings (tuned E-A-D-G-B-E).[31]

Luthier Michael Adler built the first 11-string bass in 2004 and completed the first single-course 12-string bass in 2005. Adler's 11- and 12-string instruments have the same range as a grand piano.[32] Sub-contra basses, such as C#-F#-B-E ("C#" being at 17.32 Hz (C♯0))[33] have been created. Ibanez had released SR7VIISC in 2009, featuring a 30" scale and narrower width, and tuned as B-E-A-D-G-C-E; the company dubbed it a cross between bass and guitar.[34] Yves Carbonne developed 10 and 12 string fretless sub-bass guitars.[35][36][37]

Pickups and amplification

Magnetic pickups

Most electric bass guitars use magnetic pickups. The vibrations of the instrument's metal strings within the magnetic field of the permanent magnets in magnetic pickups produce small variations in the magnetic flux threading the coils of the pickups. This in turn produces small electrical voltages in the coils. These low-level signals are then amplified and played through a speaker. Less commonly, non-magnetic pickups are used, such as piezoelectric pickups which sense the mechanical vibrations of the strings. Since the 1980s, basses are often available with battery-powered "active" electronics that boost the signal and/or provide equalization controls to boost or cut bass and treble frequencies.

Dual "J"-style pickups

"Jazz" pickups (referring to the original Fender Jazz Bass), which are also referred to as "J pickups", are wider eight-pole pickups which lie underneath all four strings. J pickups are typically single-coil designs, although there are a large number of humbucking designs. As with the halves of the P-pickups, the J-pickups are reverse-wound with reverse magnetic polarity. As a result they have hum canceling properties when used at the same volume, with hum cancellation decreasing when the pickups are used at unequal volume and altogether absent when each pickup is used individually. 'J' Style pickups tend to have a lower output and a thinner sound than 'P' Style pickups making it perfect for most rock music. Many bassists choose to combine a 'J' pickup at the bridge and a 'P' pickup at the neck, to be 'blended' together for a unique sound.

"Precision" pickups (which refers to the original Fender Precision Bass), which are also referred to as "P pickups", are actually two distinct single-coil pickups. Each is offset a small amount along the length of the body so that each half is underneath two strings. The pickups are reverse-wound with reversed magnetic polarity to reduce hum. This makes the 'P' pickup a [humbucking] single coil pickup; something which is almost unique to the 'P' style pickup. Less common is the single-coil "P" pickup, used on the original 1951 Fender Precision bass.[38]

"Dual Coil" (Humbucker) pickups, also known as "DC pickups", have two signal producing coils which are reverse wound around opposed polarity magnets (similar in principle to the two individual J-pickups). This significantly reduces noise from interference compared to single coil pickups. Humbuckers also often produce a higher output level than single coil pickups. Dual coil pickups come in two main varieties; ceramic or ceramic and steel. Ceramic only magnets have a relatively harsher sound than their ceramic and steel counterparts, and are thus used more commonly in heavier rock styles.

A well-known bass humbucker is the pickup used on the Music Man series of basses; it has two coils, each with four large polepieces. This style is known as the "MM" pickup for this reason, and many aftermarket pickup manufacturers and custom builders incorporate these pickups. The most common configurations are a single pickup at the bridge, two pickups similar in placement to a Jazz Bass, or an MM pickup at the bridge with a single-coil pickup (often a "J") at the neck. These pickups can often be "tapped", meaning one of the two coils can be essentially turned off, giving a sound similar to a single-coil pickup.

"Soapbar" Pickups are so-named due to their resemblance to a bar of soap and originally referred to the Gibson P-90 guitar pickup. The term is also used to describe any pickup with a rectangular shape and no visible pole pieces; most of the pickups falling into this category are humbucking. They are commonly found in basses designed for the rock and metal genres, such as Gibson, ESP Guitars, and Schecter. 'Soapbar pickups' are also called 'extended housing'.

Many basses have just one pickup, typically a "P" or soapbar pickup. Multiple pickups are also quite common, two of the most common configurations being a "P" near the neck and a "J" near the bridge (e.g. Fender Precision Bass Special, Fender Precision Bass Plus), or two "J" pickups (e.g. Fender Jazz). A two-"soapbar" configuration is also very common, especially on basses by makes such as Ibanez and Yamaha. A combination of a J or other single-coil pickup at the neck and a Music Man-style humbucker in the bridge has become popular among boutique builders, giving a very bright, focused tone that is good for jazz and thumbstyle.

Some basses use more unusual pickup configurations, such as a soapbar and a "P" pickup (found on some Fenders), Stu Hamm's "Urge" basses which have a "P" pickup sandwiched between two "J" pickups, and some of Bootsy Collins' custom basses, which had as many as 5 J pickups. Another unusual pickup configuration is found on some of the custom basses that Billy Sheehan uses, in which there is one humbucker at the neck and a split-coil pickup at the middle position.

The placement of the pickup greatly affects the sound. A pickup near the neck joint emphasizes the fundamental and low-order harmonics and thus produces a deeper, bassier sound, while a pickup near the bridge emphasizes higher-order harmonics and makes a "tighter" or "sharper" sound. Usually basses with multiple pickups allow blending of the output from the pickups, with electrical and acoustical interactions between the two pickups (such as partial phase cancellations) allowing a range of tonal effects. Sound demonstrations of the tonal effects of varying blends of the P and J pickups are demonstrated at the following link.

Non-magnetic pickups

The use of non-magnetic pickups allows bassists to use non-ferrous strings such as nylon, brass or even silicone rubber, which create different tones.

Piezoelectric pickups (also called "piezo" pickups) are non-magnetic pickups that use a transducer crystal to convert the vibrations produced by the string into an electrical signal. They produce a different tone from magnetic pickups, often similar to that of an acoustic bass. Piezo pickups are often used in acoustic bass guitars.

Optical pickups are another type of non-magnetic pickup. They use an infrared LED to optically track the movement of the string, which allows them to reproduce low-frequency tones at high volumes without the "hum" or excessive resonance associated with conventional magnetic pickups. Since optical pickups do not pick up high frequencies or percussive sounds well, they are commonly paired with piezoelectric pickups to fill in the missing frequencies. The Lightwave company builds basses with optical pickups.

Amplification and effects

This amplification setup is a "bass stack" approach, in which an amplifier (in this case a Hartke 5000) is plugged into separate speaker cabinets.

Like the electric guitar, the electric bass guitar is often connected to an amplifier and a speaker with a patch cord for live performances. Electric bassists use either a "combo" amplifier, which combines an amplifier and a speaker in a single cabinet, or an amplifier and a separate speaker cabinet (or cabinets). In some cases when the bass is being used with large-scale PA amplification, it is plugged into a "DI" or "direct box", which routes their signal directly into a mixing console, and thence to the main and monitor speakers. Recording may use a microphone setup for the amplified signal or a direct box feeding the recording console. The performer or producer may also use a blend of the miked and direct signals.

Various electronic bass effects such as preamplifiers, "stomp box"-style pedals and signal processors and the configuration of the amplifier and speaker can be used to alter the basic sound of the instrument. In the 1990s and early 2000s, signal processors such as equalizers, overdrive devices, and compressors or limiters became increasingly popular. Modulation effects like chorus, flanging, phase shifting, and time effects such as delay and looping are less commonly on used with bass than with electric guitar, but they are used in some styles of music.

Playing techniques

Sitting or standing

Most bass players stand while playing, although sitting is also accepted, particularly in large ensemble settings, such as jazz big bands or in acoustic genres such as folk music. It is a matter of the player's preference as to which position gives the greatest ease of playing and what a bandleader expects. When sitting, right-handed players can balance the instrument on the right thigh or like classical guitar players, the left. Balancing the bass on the left thigh usually positions it in such a way that it mimics the standing position, allowing for less difference between the standing and sitting positions. Balancing the bass on the right thigh provides better access to the neck and fretboard in its entirety, especially lower frets.

Performing techniques

Plucking techniques

In contrast to the upright bass (or double bass), the electric bass guitar is played horizontally across the body, like an electric guitar. When the strings are plucked with the fingers (pizzicato), the index and middle fingers (and sometimes with the thumb, ring, and pinky fingers as well) are used. James Jamerson, an influential bassist from the Motown era, played intricate bass lines using only his index finger, which he called "The Hook." There are also variations in how a bassist chooses to rest the right-hand thumb (or left thumb in the case of left-handed players). A player may rest his thumb on the top edge of one of the pickups or on the side of the fretboard, which is especially common among bassists who have an upright bass influence. Some bassists anchor their thumbs on the lowest string and move it off to play on the low string. Alternatively, the thumb can be rested loosely on the strings to mute the unused strings.

The string can be plucked at any point between the bridge and the point where the fretting hand is holding down the string; different timbres are produced depending on where along the string it is plucked. Some players are known for plucking near the bridge where the string is most taut, such as jazz fusion bassist Jaco Pastorius, whereas other bassists prefer the "looser" part of the string nearer to the fingerboard.

Bassists trying to emulate the sound of a double bass sometimes pluck the strings with their thumb and use palm-muting to create a short, "thumpy" tone. The late Monk Montgomery (who played in Lionel Hampton's band) and Bruce Palmer (who performed with Buffalo Springfield) use thumb downstrokes. The use of the thumb was acknowledged by early Fender models, which came with a "thumbrest" or "Tug Bar" attached to the pickguard below the strings. Contrary to its name, this was not used to rest the thumb, but to provide leverage while using the thumb to pluck the strings. The thumbrest was moved above the strings in 1970s models and eliminated in the 1980s.

"Slap and pop"

The slap and pop method, or "thumbstyle", most associated with funk, uses tones and percussive sounds achieved by striking, thumping, or "slapping" a string with the thumb and snapping (or "popping") a string or strings with the index or middle fingers. Bassists often interpolate left hand-muted "dead notes" between the slaps and pops to achieve a rapid percussive effect, and after a note is slapped or popped, the fretting hand may cause other notes to sound by using "hammer ons", "pull offs", or a left-hand glissando (slide). Larry Graham of Sly and the Family Stone and Graham Central Station was an early innovator of the slap style, and Louis Johnson of the The Brothers Johnson is also credited as an early slap bass player.

Picking techniques

The pick (or plectrum) is used to obtain a more articulate attack, for speed, or just personal preference. Although the use of a pick is primarily associated with rock, picks are also used in other styles. Jazz bassist Steve Swallow uses a pick for upbeat or funky songs. Picks can be used with alternating downstrokes and upstrokes, or with all downstrokes for a more consistent attack. The pick is usually held with the index and thumb, with the up-and-down plucking motion supplied by the wrist (one exception is tremolo picking, in which the whole arm is used to play a note very rapidly). Some bassists use their fingernails to play flamenco-style, such as Geddy Lee, Cliff Burton, Les Claypool, Mike Dirnt, and Stanley Clarke.

There are many varieties of picks available, but due to the thicker, heavier strings of the electric bass, bassists tend to use heavier picks than those used for electric guitar, typically ranging from 1.14 mm – 3.00 mm (3.00 is unusual). Different materials are used for picks, including plastic, nylon, and felt, all of which produce different tones. Felt picks are used to emulate a fingerstyle tone.

Fretting techniques

The fretting hand—the left hand for right-handed bass players and the right hand for left-handed bass players — is used to press down the strings to play different notes and shape the tone or timbre of a plucked or picked note. The fretting hand can be used to change a sounded note, either by fully muting it after it is plucked or picked to shorten its duration or by partially muting it near the bridge to reduce the volume of the note, or make the note die away faster. The fretting hand is often used to mute strings that are not being played and stop the sympathetic vibrations, particularly when the player wants a "dry" or "focused" sound. On the other hand, the sympathetic resonance of harmonically-related strings may be desired for some songs, such as ballads. In these cases, a bassist can fret harmonically-related notes. For example, while fretting a sustained "F" (on the third fret of the "D" string), underneath an F major chord being played by a piano player, a bassist might hold down the "C" and low "F" below this note, so that their harmonics will sound sympathetically.

The fretting hand can add vibrato to a plucked or picked note, either a gentle, narrow vibrato or a more exaggerated, wide vibrato with bigger pitch variations. For fretted basses, vibrato is always an alternation between the pitch of the note and a slightly higher pitch. For fretless basses, the player can use this style of vibrato, or they can alternate between the note and a slightly lower pitch. While vibrato is mostly done on "stopped" notes—that is, notes that are pressed down on the fingerboard—open strings can also be vibratoed by pressing down on the string behind the nut. As well, the fretting hand can be used to "bend" a plucked or picked note up in pitch. To create the opposite effect, a "bend down", the string is pushed to a higher pitch before being plucked or picked and then allowed to fall to the lower, regular pitch after it is sounded. More rarely, a bassist may use a tremolo bar-equipped bass to produce the same effect.

In addition to pressing down one note at a time, bassists can also press down several notes at one time with their fretting hand to perform a chord. While chords are used less often by bassists than by electric guitarists, a variety of chords can be performed on the electric bass, especially with instruments with higher ranges such as six-string basses. Another variation to fully pressing down a string is to gently graze the string with the finger at the harmonic node points on the string, which creates chime-like upper partials. Glissando is an effect in which the fretting hand slides up or down the neck. A subtle glissando can be performed by moving the fretting hand without plucking or picking the string; for a more pronounced effect, the string is plucked or picked first, or, in a metal or hardcore punk context, a pick may be scraped along the sides of the strings.

The fretting hand can also be used to sound notes, either by plucking an open string with the fretting hand, or, in the case of a string that has already been plucked or picked, by "hammering on" a higher pitch or "pulling off" a finger to pluck a lower fretted or open stringed note. Jazz bassists use a subtle form of fretting hand pizzicato by plucking a very brief open string grace note with the fretting hand right before playing the string with the plucking hand. When a string is rapidly hammered on, the note can be prolonged into a trill.

Two-handed tapping

A bassist performing tapping, in which notes are sounded by striking the strings against the fretboard

In the two-handed tapping styles, bassists use both hands to play notes on the fretboard by rapidly pressing and holding the string to the fret. Instead of plucking or picking the string to create a sound, in this technique, the action of striking the string against the fretboard is used to create the sound. Since two hands can be used to play on the fretboard, this makes it possible to play interweaving contrapuntal lines, to simultaneously play a bassline and a simple chord, or play chords and arpeggios. Bassist John Entwistle of The Who would tap percussively on the strings, causing them to strike the fretboard with a twangy sound to create drum-style fills. Some players noted for this technique include Billy Sheehan, Stuart Hamm, John Myung, Victor Wooten, Les Claypool, and Michael Manring. The Chapman Stick and Warr Guitars are string instruments that are designed to be played using two-handed tapping.

The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline, in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer). The importance of the bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, in reggae, funk, or hip-hop, entire songs may be centered on the bass groove, and the bassline is usually very prominent in the mix.

In traditional country music, folk rock, and related styles, the bass often plays the roots and fifth of each chord in alternation. In Chicago blues, the electric bass often performs a walking bassline made up of scales and arpeggios. In blues rock bands, the bassist often plays blues scale-based riffs and chugging boogie-style lines. In metal, the bass guitar may perform complex riffs along with the rhythm guitarist or play a low, rumbling pedal point to anchor the group's sound.

The bass guitarist sometimes breaks out of the strict rhythm section role to perform bass breaks or bass solos. The types of basslines used for bass breaks of bass solos vary by style. In a rock band, a bass break may consist of the bassist playing a riff or lick during a pause in the song. In some styles of metal, a bass break may consist of "shred guitar"-style tapping on the bass. In a funk or funk rock band, a bass solo may showcase the bassist's percussive slap and pop playing. In genres such as progressive rock, art rock, or progressive metal, the bass guitar player may play melody lines along with the lead guitar (or vocalist) and perform extended guitar solos. Other contemporary musicians such as Edo Castro have taken the electric bass, including 4, 5, 6, 7, 8 & 9 strings, into a new and evolving genre centered entirely around the bass itself.

Jazz and jazz fusion

The electric bass is a relative newcomer to the world of jazz. The big bands of the 1930s and 1940s Swing era and the small combos of the 1950s Bebop and Hard Bop movements all used the double bass. The electric bass was introduced during the late 1960s and early 1970s, when rock influences were blended with jazz to create jazz-rock fusion. The introduction of the electric bass in jazz fusion, as in the rock world, enabled the bass to be used in high-volume stadium concerts with powerful amplifiers, because it is much easier to amplify the electric bass than the double bass (the latter is prone to feedback in high-volume settings). When the electric bass is used in jazz, it has both an accompaniment and a soloing role. When the bass is used to accompany, it may be used to perform walking basslines for traditional tunes and "jazz standards", in smooth quarter note lines which imitate the sound of the double bass. For latin or salsa tunes and rock-infused jazz fusion tunes, the electric bass may play rapid, syncopated rhythmic figures in coordination with the drummer, or lay down a low, heavy groove.

In a jazz setting, the electric bass tends to have much a much more expansive solo role than in most popular styles. In most rock settings, the bass guitarist may only have a few short bass breaks or brief solos during a concert. During a jazz concert, a jazz bassist may have a number of lengthy improvised solos, which are called "blowing" in jazz parlance. Whether a jazz bassist is comping (accompanying) or soloing, they usually aim to create a rhythmic drive and "timefeel" that creates a sense of "swing" and "groove". For information on notable jazz bassists, see the List of jazz bassists article.

Contemporary classical music

Contemporary classical music uses both the standard instruments of Western Art music (piano, violin, double bass, etc) and newer instruments or sound producing devices, ranging from electrically amplified instruments to tape players and radios. The electric bass guitar has occasionally been used in contemporary classical music (art music) since the late 1960s. Contemporary composers often obtained unusual sounds or instrumental timbres through the use of non-traditional (or unconventional) instruments or playing techniques. As such, bass guitarists playing contemporary classical music may be instructed to pluck or strum the instrument in unusual ways.

In the 1970s, electric bass was used by the American conductor- composer Leonard Bernstein (1918–1990) for his MASS, 1971). American jazz pianist Dave Brubeck used bass guitar for his 1971 piece Truth Has Fallen. Russian and Soviet composer Alfred Schnittke used the instrument for his Symphony no. 1, 1972. In 1977, David Amram (born 1930) scored for electric bass in En memoria de Chano Pozo. Amram is an American composer known for his eclectic use of jazz, ethnic and folk music.

Pedagogy and training

The pedagogy and training for the electric bass varies widely by genre and country. Rock and pop bass has a history of pedagogy dating back to the 1950s and 1960s, when method books were developed to help students learn the instrument. One notable method book was Carol Kaye's How to Play the Electric Bass.

In the jazz scene, since the bass guitar takes on much of the same role as the double bass—laying down the rhythm, and outlining the harmonic foundation—electric bass players have long used both bass guitar methods and jazz double bass method books. The use of jazz double bass method books by electric bass players in jazz is facilitated in that jazz methods tend to emphasize improvisation techniques (e.g., how to improvise walking basslines) and rhythmic exercises rather than specific ways of holding or plucking the instrument.

Formal training

Of all of the genres, jazz and the mainstream commercial genres (rock, R&B, etc) have the most established and comprehensive systems of instruction and training for electric bass. In the jazz scene, teens can begin taking private lessons on the instrument and performing in amateur big bands at high schools or run by the community. Young adults who aspire to becoming professional jazz bassists or studio rock bassists can continue their studies in a variety of formal training settings, including colleges and some universities.

Several colleges offer electric bass training in the US. The Bass Institute of Technology (BIT) in Los Angeles was founded in 1978, as part of the Musician's Institute. Chuck Rainey (electric bassist for Aretha Franklin and Marvin Gaye) was BIT's first director. BIT was one of the earliest professional training program for electric bassists. The program teaches a range of modern styles, including funk, rock, jazz, Latin, and R&B.

Bassist Michael Manring is a well-known alumnus of the bass department of the Berklee College of Music.

The Berklee College of Music in Boston offers training for electric bass players. Electric bass students get private lessons and there is a choice of over 270 ensembles to play in. Specific electric bass courses include funk/fusion styles for bass; slap techniques for electric bass; fingerstyle R&B; 5 & 6-string electric bass playing (including performing chords); and how to read bass sheet music.[40] Berklee College alumni include Jeff Andrews, Victor Bailey, Jeff Berlin, Michael Manring, and Neil Stubenhaus.[40] The Bass Department has two rooms with bass amps for classes and ten private lesson studios equipped with audio recording gear. The 2009 Chair of the Bass Department, Rich Appleman, stated that "It is important to have a balance of traditional skills and repertoire, while staying abreast of new changes and developments. This balance can be found in the curriculum for the four-, five-, and six-string electric bass, the fretless bass, and acoustic bass. Students learn concepts in Latin, funk, Motown, and hip-hop, while maintaining a foundation from earlier styles of jazz, rock, and fusion.".[40]

In Canada, the Humber College Institute of Technology & Advanced Learning offers an Advanced Diploma (a three-year program) in jazz and commercial music. The program accepts performers who play bass, guitar, keyboard, drums, melody instruments (e.g., sax, flute, violin) and who sing. Students get private lessons and perform in 40 student ensembles.[41]

Although there are far fewer university programs that offer electric bass instruction in jazz and popular music, there are some universities which offer Bachelor's degrees (B.Mus.) and Master of Music (M.Mus.) degrees in jazz performance or "commercial music", in which electric bass can be the main instrument. In the US, the Manhattan School of Music has a jazz program leading to B.Mus. and M.Mus degrees which accepts students who play bass (double bass and electric bass), guitar, piano, drums, and melody instruments (e.g., sax, trumpet, etc.).[42]

In the Australian state of Victoria, the Victorian Curriculum and Assessment Authority has set out minimum standards for its electric bass students doing their end-of-year Solo performance recital. To graduate, students must perform pieces and songs from a set list that includes Baroque suite movements that were originally written for cello, 1950s Motown tunes, 1970s fusion jazz solos, and 1980s slap bass tunes. A typical program may include a Prelude by J.S. Bach; "Portrait of Tracy" by Jaco Pastorius; "Twisted" by Wardell Gray and Annie Ross; "What’s Going On" by James Jamerson; and the funky Disco hit "Le Freak" by Chic.[43]

In addition to college and university diplomas and degrees, there are a variety of other training programs such as jazz or funk summer camps and festivals, which give students the opportunity to play a wide range of contemporary music, from 1970s-style jazz-rock fusion to 2000s-style R&B.

Informal training

In other less mainstream genres, such as hardcore punk or metal, the pedagogical systems and training sequences are typically not formalized and institutionalized. As such, many players learn "by ear", by copying the basslines from records and CDs, and by playing in a number of bands. Even in non-mainstream styles, though, students may be able to take lessons from experienced players from these styles. As well, there are a range of books, playing methods, and, since the 1990s, instructional DVDs (e.g., on how to play metal bass).

Footnotes and references

^ According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar [bass guitar] [is] an Electric Guitar, usually with four heavy strings tuned E'–A'–D–G." The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001)

^ The New Grove Dictionary of Music and Musicians defines the term bass thus: "Bass (iv). A contraction of Double bass or Electric bass guitar." Ibid.

^ The proper term is "electric bass", and it is often misnamed "bass guitar", according to Tom Wheeler, The Guitar Book, pp 101–2. Guitars by Evans and Evans, page 342, agrees.

^ Although "electric bass" is one of the common names for the instrument, "bass guitar" or "electric bass guitar" are commonly used and some authors claim that they are historically accurate (e.g., "How The Fender Bass Changed The World" in the references section).

^ In interviews, Pastorius gave various versions of how he accomplished this; the versions mention the use of pliers, a putty knife, and, in at least one interview (Guitar Player magazine, 1984) he states that he bought the instrument with the frets already removed, badly, with the slots where the frets once were not yet filled in.

^ Pastorius used epoxy rather than varnish to obtain a glass-like finish suitable for the use of roundwound strings, which are otherwise much harder on the wood of the fingerboard.

^ Tunings such as "BEAD" (this requires a low "B" string in addition to the other three "standard" strings), "D-A-D-G" (a "standard" set of strings, with only the lowest string detuned), and D-G-C-F or C-G-C-F (a "standard" set of strings, all of which are detuned) give bassists an extended lower range. A tenor bass tuning of "A-D-G-C" provides a higher range.

^ Hipshots are similarly used to drop the "B"-string down to a "B♭" on five or six string basses where it is advantageous when accompanying brass bands whose music is commonly in the key of "B♭". More rarely, some bassists (e.g., Michael Manring) will add detuners to more than one string, or even more than one detuner to each string, to enable them to detune strings during a performance and have access to a wider range of chime-like harmonics.

^ Tuned A-D-G-C, like the top 4 strings of a 6-string bass, or simply a standard 4-string with the strings each tuned up an additional perfect fourth. Tenor bass is a tuning used by Stanley Clarke, Victor Wooten, and Stu Hamm.

^ Tuned "e-a-d-g" (an octave higher than standard bass tuning – -the same as the bottom four strings of a guitar). This is used by jazz fusion bassists such as Stanley Clarke.

^ The D-G-B-E tuning matches the first four strings (from highest to lowest) of a guitar, pitched two octaves lower.

^ For example, an 8-string bass would be strung Ee-Aa-Dd-Gg, while a 12-string bass might be tuned Eee-Aaa-Ddd-Ggg (four courses of three strings each). In the case of the 12-string, the standard pitch strings are augmented by two strings both an octave higher than the standard pitched string. Ten-string basses have octave strings added to the low-B of a 5-string bass. A 15-string bass (tuned Eee Aaa Ddd Ggg Ccc) was developed by Jauqo III-X and produced by Warrior Guitars(the 15 string bass made for Jauqo III-X by Warrior was the world's first 15-string bass guitar ever made. A 1998 video: http://www.youtube.com/watch?v=G6O0Lgyn6aE )

^ These have a low "F#" string below the "B" string, and the 9-string bass adds a low "F#" and a high "B♭" string.

^ The guitarbass has 10 strings on the same neck and body, but with separate scale lengths, bridges, fretboards, and pickups. It was created [2] by John Woolley in 2005, based on a prototype built by David Minnieweather.

^ The Adler 12-string has the same range as the Bösendorfer 290 grand piano with 97 notes. This was made possible by Goodman developing an Ab4 string for the 32" scale.

^ (e.g., the Jauqo III-X from 2000 or the sub-bass guitar, E-A-D-G one octave below standard ("E" being at 20.6 Hz)

^ This is also known as the 'Vintage P' due to it being found on vintage basses before the invention of the split coil pickup. The single-coil "P" pickup is also used in the reissue and the Sting signature model.

[[File:|150px|thumb|right|A bass guitar in its padded case. The two knobs on the front are for controlling the volume (loudness or softness) and tone of the bass.]]
A bass guitar[1] (also called an "electric bass"[2][3][4] or "bass") is a string instrument which is related to the electric guitar. The bass guitar is shaped like an electric guitar, except that it is longer than an electric guitar. The electric bass has many of the same parts as an electric guitar. However, the bass guitar produces lower tones than the electric guitar.

Contents

History

The bass guitar was first made in the 1930s by inventor Paul Tutmarc from Seattle, Washington.[5] However, very few musicians were interested in the instrument that Tutmarc made. It was the 1950s when musicians finally started to play the double bass in jazz, blues, folk, and early rock music. The double bass was big, heavy, hard to carry around and was hard to play precise notes on. Musicians wanted a smaller instrument that weighed less. Inventors tried to think of ways of building a smaller and lighter bass instrument. One of these inventors was a man named Leo Fender in the United States. Leo Fender developed a bass guitar in the 1950s using the ideas developed by Tutmarc.

Leo Fender used many parts for the bass guitar that are similar to the parts of an electric guitar. Leo Fender called the instrument the "Fender Precision Bass". He used the word "Precision" in the name because his instrument had metal frets on the neck. The double bass did not have frets on its neck. The frets on the bass guitar made it easier for musicians to play precise notes. The bass guitar developed by Leo Fender became very popular. In the 2000s, many bass guitars are still designed to look like his Fender Precision Bass.

Description

Bass guitars are normally made out of wood. Bass guitars have a few main pieces such as a body, neck, fingerboard, frets, and strings. The body is made out of wood. A wooden neck is glued or bolted onto the body. A wooden fingerboard is then glued onto the neck. Then, thin metal strips called frets are glued onto the fingerboard. Frets are placed at specific locations along the fretboard, with each fret representing one half step in the Western tonal scale.

At the bottom of the body is an assembly called the bridge, a large metal assembly into which one end of the strings are fitted. On some designs, the strings are fasted through the back of the body into the bridge; on others, the strings fit into the front side of the bridge. Inside the body is a cavity that contains the electrical components of the bass. The bridge often has adjustments that allow the height of the strings to be changed. In addition to the bridge, the other components found on the body include one or more pickups and various knobs or switches that control the sound of the bass.

The pickups are magnetic devices that sit below the strings. As the strings vibrate, an electrical signal is produced which is routed via an instrument cable to an amplifier. Pickups are either "passive", which means they send the signal with no additional amplification, or "active", which process the signal through a pre-amplifier. Some basses feature pickups that can be set to passive or active mode. Basses that have two pickups (generally referred to as bridge and neck pickups) often have a switch that enables the player to select neck-only, bridge-only, or a blended signal. Each pickup may have different tonal qualities that results from its placement relative to the bridge and its components.

At the other end of the fretboard from the body sits the headstock, which generally holds the tuners that permit the player to adjust the tuning of the strings. At the very end the fretboard, where the strings pass from the fretboard to the tuners, we find the nut, a piece made of metal or plastic, with grooves to hold the strings off the fretboard.

Inside most fretboards is a long metal rod, called a trussrod, that is used to adjust the tension on the neck. It is generally desirably to have the neck bowed slightly concave, so that the strings will clear all frets without "buzzing." The amount of bow, along with adjustments made on the bridge, will determine the height of the strings along the fretboard.

The scale of an electric bass - the length of the strings from the nut to the bridge - is generally 34 inches (84 centimeters), although shorter and longer basses are produced. In earlier decades, short-scale basses were more common, since many designers adapted guitar parts for early models. Because in some styles of music, such as heavy metal, the strings are tuned down, longer scaled basses are sometimes favored for such styles, since string tension is higher.

Standard bass guitars have four metal strings, but models with five, six or eight strings are also made. The strings themselves are manufactured in different ways and with different materials to change their tonal qualities.

In the 1960s and 1970s some musicians took the frets off their bass guitars: taking the frets off a bass guitar changes the sound of the bass, particularly as the player slides their fingers along the strings. A bass guitar without frets is called a fretless bass guitar, and are favored by some bassists: for instance, Pino Palladino, whose performance on the fretless bass during the 1980s made him a highly desirable session player backing high profile musicians like Eric Clapton and David Gilmour. While fretless basses are common with jazz and jazz fusion, bassists from other genres use fretless basses, such as metal bassist Steve DiGiorgio and Colin Edwin of modern/progressive rockband [Porcupine Tree].

Strings and sound

The standard design for the electric bass guitar has four strings, generally tuned E, A, D and G (low to high). It is not uncommon for players to tune strings to a lower pitch, particularly in styles, such as heavy metal, that favor deeper sounds. Five string basses add a lower string, usually tune to B, while six-string-basses add a higher string tuned to C. In standard tunings, each string is tuned a perfect fourth interval above the next lower string (e.g. E to A).

Sounds are produced from the strings in a number of ways. The most common form of playing is called fingerstyle, in which the player plucks the fingers upwards with the ends of the fingers. It is common to use the index and middle fingers as the plucking fingers, but players may use more fingers or even employ their thumb to pluck downwards. Other finger-based techniques include slap-and-pop, in which the player strikes the lower-pitched strings firmly with their thumb, and pulls higher-pitched strings upwards and lets them snap against the fretboard, and tapping, in which the player hammers downward with their fingertips on the fretboard.

Picks made of metal or plastic may also be used, and generally yield a sharper sound than plucking with fingers. Picking is sometimes combined with muting techniques to create distinctive sounds.

The bridge of the bass guitar may be fitted with a tremolo, which enables the player to vary the pitch of their strings while playing.

Where the strings are struck relative to bridge changes to the tone of the sound considerably. Plucking or picking close the bridge generally produces a more muted note, while sounding the string closer to the neck produces a fuller, more resonant tone.

Bass guitars also have magnetic pickups mounted on the body underneath the strings. A musician plucks the strings with their fingers. This makes the strings vibrate. The magnetic pickups detect the vibrations. Then the vibrations from the strings are converted into an electronic signal which is sent with a metal cable to an electronic amplifier and a loudspeaker. The musician rotates a volume control knob that is located on the body of the bass to make the sound of a bass guitar loud or quiet.

References

↑ According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar [bass guitar] [is] an Electric Guitar, usually with four heavy strings tuned E'–A'–D–G." The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001)

↑ The New Grove Dictionary of Music and Musicians defines the term bass thus: "Bass (iv). A contraction of Double bass or Electric bass guitar." Ibid.

↑ The proper term is "electric bass", and it is often misnamed "bass guitar", according to Tom Wheeler, The Guitar Book, pp 101–2. Guitars by Evans and Evans, page 342, agrees.

↑ Although "electric bass" is one of the common names for the instrument, "bass guitar" or "electric bass guitar" are commonly used and some authors claim that they are historically accurate (e.g., "How The Fender Bass Changed The World" in the references section).